#myriam ould-braham

[strechanadi]

Myriam Ould Braham, Mathieu Ganio

L’histoire de Manon

photo Svetlana Loboff

[balletroyale]

Omfg I’m going to see Myriam Ould-Braham and Mathieu Ganio in MANON in JUNE

[kameliendame]

Jerome Robbins, En Sol

Myriam Ould Braham

ph. Svetlana Loboff

[tikitania]

Behind the scenes of Myriam Ould Braham’s final performance. I got choked up as Giselle was lowered down into her grave, the double significance of leaving Albrecht forever and bidding her audience farewell. How could you NOT cry. 🤍

[lovelyballetandmore]

Myriam Ould Braham | Claudio Coviello | Teatro alla Scala | Photo by Vito Lorusso

[gorbigorbi]

Marc Moreau and Myriam Ould Braham in "Swan Lake", Ballet de l'Opéra National de Paris

Photographer Yonathan Kellermann

[miss-mollys-ballet-blog]

Myriam Ould-Braham in Sleeping Beauty.

[swanlake1998]

myriam ould-braham photographed performing as juliet in rudolf nureyev’s romeo & juliet ~curtain call~ by isabelle aubert

[dyingroses]

This needs to become a meme:

[galina-ulanova]

Myriam Ould-Braham and Alice Renavand in Don Quixote (Paris Opera Ballet)

[strechanadi]

Paris Opera Ballet

Giselle curtain call

photo Isabelle Aubert

[balletroyale]

Myriam Ould Braham announces she will retire from POB in May 2024

I knew this was coming but I’m crushed. I need to get over to Paris before this happens!

[melmothblog]

Nikolai Tsiskaridze and Myriam Ould-Braham in “Casse Noisette”. Paris Opera Ballet.

[kameliendame]

Myriam Ould Braham in Paris Opera Ballet's production of Giselle

ph. Svetlana Loboff

[tikitania]

Myriam Ould-Braham in POB’s Sleeping Beauty (excerpts)

One of my favorite telegram ballet bloggers is a Russian ballet writer living in Paris, so I get her takes on the POB through a Russian lens. Unlike a lot of Russians, she’s open to neoclassical and contemporary ballet and her knowledge runs deep. You can follow her on TG (Dance Writer’s World.) She recently wrote some informal thoughts about Ould-Braham upon retirement that I feel is worth sharing:

Today is the premiere of my beloved Inez Mackintosh, and I still can’t get my head around writing about Miriam Ould-Brahm’s farewell performance.

In fact, I repeat, she is not “my” ballerina. I personally don’t have enough temperament. But before arriving in France, I simply categorically did not like her, I did not understand why the star was there.

And when I saw her more than once on stage, I understood.

The French public adores her, I think also for her modesty. She is not a media star, she is not always on TV (like some), she does not write memoirs at the age of 20, and she is not active on Instagram. She is focused on work, and apparently on family.

But this is all secondary. The main thing is that her dance is incredibly pure. She won't show us her huge step, because it's not necessary. But instead, it will open your leg into alezgon in such a way that you will regret not recording it in molecules for the textbook. She has beautiful feet, a very strong upper turnout (she holds the same alezgon in the second act of Giselle simply with her heel into the audience), and School with a capital S. Everything is adjusted down to the millimeter. All five are closed. All is clear. Just sit and write a textbook from it. And this is really rare, even at the Opera. Where emotions often run wild. She didn't have many emotions, that's true. But a dance like hers is very rare now. When less is more. When you just want to see a person not with triple 64 fouettés, but who, even getting into a simple arabesque, finds poetry and beauty in it.

I am grateful to fate that she gave me the chance to see this ballerina.